I got a call from Paul Rosenberg, Em's manager. He's like, “Em's ready for the visual. I want to play you this song and then just vibe on it.” They [Eminem’s team] work so crazy. They don't do anything digital. So I went to a Staples parking lot, and I had to sit shotgun in one of the A&R’s cars to listen to it. I wrote down a couple notes and left—it was like a drug deal or something. [Laughs]
The first thing I thought was, this is totally Beasties and old Def Jam. I was always a big Billy Squire fan, so it was rad. I heard the song, chopped it up with Paul and he’s like, here’s the deal: Em always has a base outline of what he wants to do. In this case, he’s like, “I [want] to be very specific to early ’90s hip-hop, but I don’t want it to be like Hype Williams shit. I want to go Beasties and more of that kind of indie style.”
The other thing they said was that Rick [Rubin] was going to be in the video, which freaked me out in the coolest possible way. I’m like, “Really? Fuck.” So then I was starting to think about “Going Back to Cali” and was like, “Let’s use Rick fucking 25 years later in the same scene.” We were trying to get LL [Cool J], but he was in L.A. and we shot in Queens.
This was a Sunday, and we had to shoot that Thursday. We built the boom box in 48 hours. It was crazy. And that scale, with the riser and the handle, it’s 20 by 20 feet, so I mean, it was massive, and it totally functions. It doesn’t play but the tape deck opens, buttons work and you see a little LED equalizer.
It was nerve-wracking, because [we] had Paul and Em walked out on set and not liked it, we would have been screwed. But fortunately they saw it and were like, “Oh, that's great.”
Revolutionary wrote:Oh man, it would have been much better if LL was on it
Eminem wrote:Unfashionable and bout as rational as a rash in a fag's asshole
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